For those of us in the Northern Hemisphere, today is the first day of winter. It’s a great time to grab a cup of hot chocolate and listen to the newest album of the UK-based a cappella group VOCES8, simply titled, Winter. The album, which came out in October, is a collection of glistening, snow-covered choral soundscapes. Plainscapes I, II, and III by Peteris Vasks (b. 1946) takes us to the frigid desolation of the forests of Latvia. The opening …
On Monday we listened to Italian baroque composer Arcangelo Corelli’s “Christmas Concerto,” a piece probably performed on Christmas Eve, 1690. Now, let’s go back even earlier to the English Renaissance music of William Byrd (1543-1623). Byrd’s motet O Magnum Mysterium, written in 1607, evokes the mystery and wonderment of the nativity story. It’s music which seems poised somewhere between terror and exultation. Listen to the way the voices imitate one another, gradually unfolding in soaring …
Intense, heroic struggle culminating in transcendent exultation and joy- these are elements that we often associate with the music of Beethoven. But lately I’ve noticed that in rare, fleeting moments throughout Beethoven’s works another power seems to emerge, mysteriously. It can best be described as gratitude- a sense of surrender and a glimpse of the transcendent. It’s something we hear in the “Holy song of thanksgiving of a convalescent to the Deity, …
“Our new century is the most exciting time to be making and listening to music.” That’s the bold statement Frank J. Oteri makes in an article that appeared last week at NewMusicBox. He characterizes our hyper-connected twenty-first century world as a place where boundaries disappear. Here is an excerpt: For listeners, there’s more music to hear than ever before–and it’s happening all over the world. Of course, it always has, but nowadays, it’s not limited to …
Every great conductor started out as an accomplished instrumentalist. Look at the biography of Sir Neville Marriner, who passed away yesterday at the age of 92, and you’ll be reminded of this truism. In the 1950s, Marriner performed as a violinist in two celebrated orchestras: the Philharmonia and the London Symphony. For 13 years, he served as second violinist of the Martin String Quartet. He first picked up a baton around age 40. …
On Monday, we ventured into the monumental preludes and fugues of J.S. Bach’s The Well-Tempered Clavier. Let’s finish the week with an excerpt from Daniel Stepner’s 2013 Centaur Records release of Bach’s Sonatas and Partitas for Solo Violin. Stepner offers period performances of these works, tuning to the lowered A of Bach’s time, and using three fine old instruments: a 1641 Italian Amati violin, a 1740s German Klotz, and a 1693 Stradivari. The recording was made over the course 23 years, between …
When you think of Charles Ives (1874-1954), the visionary experimental composer and New England insurance executive who assembled shocking, never-before-imagined sonic collages, what music comes to mind? Probably the enigmatic Unanswered Question. Perhaps the dense, American folk-song-laced orchestral tone poems or the harmonically advanced Concord Sonata. But beyond all of this lies another side of Ives. By the age of 14, he was an organist of immense technical skill. (At 17, Ives described his fiendishly difficult, …